From the dawn of cinema, Hollywood has been somewhat narcissistic in the sense that it loves to make films about itself.
From Oscar darlings such as The Bad and the Beautiful and Mank, to quirky films like Hail Caesar! to more standard comedy fares such as Tropic Thunder or Netflix’s The Bubble, movies about movies have always been around. However, one entry that has managed to retain widespread love throughout the industry’s many changes, triumphs, and tribulations, is Singin’ in the Rain, which now celebrates 70 years since its release. It sits ranked on multiple Greatest Films of All Time lists, including those from Empire Magazine and Sight and Sound, and has enjoyed cult status both in its original iteration and in its adaptation for the stage.
Of course, were you to define Singin’ in the Rain by genre, ‘films about filmmaking’ isn’t likely the first thing to come to mind. It’s a staple of the golden era of Hollywood musicals. It’s a dance flick. It’s a romance. It’s a comedy. Singin’ in the Rain is all of these things, and it excels in its embodiment of each of these aspects. Arthur Freed and Nacio Herb Brown’s songs for MGM’s movie musical catalogue found their greatest recognition in this film, with the two new songs penned by the screenwriters providing two iconic sequences in the form of ‘Moses Supposes’ and ‘Make ’em Laugh.’ In particular, Gene Kelly’s rendition of the titular song is recognisable to many who have never even seen the original film. The choreography by director Stanley Donen and star Gene Kelly contains illustrious tap dance sequences, ballet, and ballroom (and all three in one number too!). It is genuinely funny, blending physical humour, contextual humour, and dry wit. It’s the kind of film that can be watched and enjoyed by everyone.
As well as all of these things, it is a film about the joys and challenges of filmmaking. Singin’ in the Rain follows its lead character Don Lockwood (Gene Kelly) at a turning point in his film career, and a turning point in the industry; the introduction of talking pictures, and the complete overhaul of what it meant to be an actor in light of this innovation. By placing the narrative on the cusp of this technological change, the screenwriters have both captured a moment in time and also made something timeless. It is a period piece, made in the 1950s about the 1920s, and in doing so establishes its sense of setting and time definitively. However, by framing the story through this theme of change for the industry, it remains relatable even now. Cinema lovers know as well now as they did then that the medium is constantly evolving, and that they are called to evolve with it. This makes for some great moments of physical comedy (such as the sequence in which Lina Lamont, played by Jean Hagen, has to learn to use a microphone), as well as an opportunity for character development by showing us how each central character responds to this change. Positioning Singin’ in the Rain at this particular time of change for the industry has influenced films since, such as the 2011 Academy Award for Best Picture Winner The Artist, which adopted the medium of silent film to highlight this era.
It is not just its approach to a changing industry that makes the film a definitive one about the industry. Its humour and willingness to poke fun at actors and Hollywood more widely also creates something warm and charming. Upon their first meeting, Kathy (Debbie Reynolds) challenges Don, making a point of saying that theatre actors are ‘real actors’ in a way that film stars aren’t. While this was a belief held at the time by many, the fact that they make a point of saying it within a film shows that those in movies at the time know they’re considered silly, but love their craft regardless. There is a campness and playfulness in the portrayal of characters such as the director of ‘The Duelling Cavalier,’ as well as Lina, with Hagen receiving an Oscar nomination for Best Supporting Actress for the latter. Even the bumbling whilst honouring depiction of R.F Simpson (Millard Mitchell), the head of the studio, says a lot about Hollywood’s attitude towards producers and the businessmen within the industry. Namely, it shows them as the ones who hold the money and power, but firmly retains the creative agency with those in starring roles. However, it does this in a loving way, with care for all these characters.
Above all of this, the thing that makes Singin’ in the Rain such as special film is the way in which it relishes the pure joy of movie magic, both in its own creation and within the world of the film. When it comes to the making of the film, the sheer dedication that went into the each number is truly staggering. For the titular dance sequence, a street set was built that was two blocks long and required a week of shooting, with six hours of fake rain (water mixed with milk) each day. For its recreation on stage, 14,000 litres of water are used each night. Donald O’Connor famously spent days in bed following the filming of ‘Make ’em Laugh’ only to discover that the take was unusable and he had to repeat the whole number again. Each and every moment of this film is a testament to the painstaking care of its cast and crew, and the genuine love they had for the movies.
Singin’ in the Rain also contains moments of elation and realisation of the possibilities created by filmmaking. From the eureka moment where Cosmo conceives the plan to dub Lina’s lines, to the opening sequence that showcases Don’s history as a film stuntman, and the romantic duet between Kathy and Don that takes place on an empty film lot, a love for Hollywood is integral to this film’s DNA. Singin’ in the Rain is revered for many reasons, but the fact that it’s a movie about movies made by and for people who love movies makes it perfect, even now. It’s joyful, it’s exuberant, it’s oversaturated, it’s indulgent, and it’s a showcase of all the best parts of Hollywood.
Words by Rehana Nurmahi
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